tue 21/03/2023

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

La bella dormente nel bosco/L'enfant et les sortilèges, Royal College of Music review - pure theatrical magic

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The Winter's Tale, Shakespeare's Globe review - clever concept never quite catches fire

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The Rake's Progress, Royal Academy of Music review - Hogarth's Rake enters the digital age

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La rondine, If Opera review - a bold opening gambit from a company changing the business of opera

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Sir John in Love, British Youth Opera review - a delicious end-of-summer treat

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Prom 19, Hallé, Elder review - cinematic drama, and plenty of it

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Mavra/Pierrot Lunaire, Linbury Theatre review - operatic madness tempered with plenty of method

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Opera Triple Bill, Royal Academy Opera review - three centuries of female suffering

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The Comedy of Errors, RSC, Barbican review - Shakespearean Christmas panto

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Die schöne Müllerin and The Alehouse Sessions, Middle Temple Hall review - overflowing musical energy and joy

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The Magic Flute, Royal Opera review - all but a guarantee of a great night out

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Chiejina, Sinfonia of London, Wilson, BBC Proms review - a musical arrival for a special favourite

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Ólafsson, Philharmonia, Järvi, BBC Proms review - a ravishing Proms debut

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Kolesnikov, Aurora Orchestra, Collon, BBC Proms review - dazzling musicianship and insight

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Hansel and Gretel, British Youth Opera review - chaotic rewrite of a classic opera misses the mark

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The Two Character Play, Hampstead Theatre review - tender, poetic and piercingly cruel

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Dance of Death, National Theatre of Norway, Coronet Theatre...

You don’t have to be Scandinavian to act out Strindberg’s fantastical extremes at the highest level, but I’ve not seen any British performers come...

Allelujah review - Alan Bennett put through the blender

I'm proffering just a tad less than three cheers for Allelujah, the film version of...

Turandot, Royal Opera review - spectacle and sound wow in th...

Nearly 40 years old, Andrei Serban’s Royal Opera Turandot feels like a gilded relic (I felt like a relic myself on learning that my...

The Way Old Friends Do, Park Theatre review - sweet, but fli...

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In European folklore, mélusine are woman from the waist up and fish or serpent below. The fabled character is first known in the 13th century....

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Blu-ray: Saraband for Dead Lovers

The 17th century romantic tragedy Saraband for Dead Lovers (1948), Ealing Studios' first Technicolor film, was conceived as a magnificent...

Amidon, Clayton, SCO, Kuusisto, Queen's Hall, Edinburgh...

On paper, the formula shouldn’t be that special. Really good music played by really good people is hardly a groundbreaking concept...

Further Than the Furthest Thing, Young Vic review - small is...

Some plays are instantly forgettable, others leave a tender fold in the memory. I well remember seeing Zinnie Harris’s evocatively titled ...